CINEMA OF NOISE PART 1 #1 - 10

"It seemed to me that it could - that it must even - rely solely on sound...But this music must be barely heard beneath the noise, in a way that the spectator is not aware of it. Moreover, I would like most of the noise and sound to be composed by a composer. In the film, for example, the three people undertake a long journey in a railway car. I'd like that the noise of the wheels on the rails not be natural sound but elaborated upon by the composer with electronic music. At the same time, one mustn't be aware of music, nor natural sounds." - Andrei Tarkovsky in interview, 1979

"I learnt from the age of 16 that you could convey an inner world after hearing Alan Splet’s sound design on Eraserhead. I also soon realised that it’s rare to find film people who are also music people or vice versa. It’s so strange — you could meet someone into Feher Gyorgy or Béla Tarr, but they listen to very middle-of-the-road music. So I was aware of this unexplored niche in terms of informing film with a whole new world of sonic ideas. Hearing is a far more active human sense than sight. As a filmmaker, your potential to ignite an audience’s imagination is far greater through using sound. With images, most of the work is done for us, but with sound, you´re filling in the gaps and that is very exciting and provocative for an audience. Sound also offers the spatial dimension that the image can’t always do. Bresson gave us a whole outside world in A Man Escaped, and we yearn for it even more since we’re trapped inside a cell." - Portrait of a Soundscapist: An Interview with Peter Strickland